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I usually think in Consonances/Dissonances as Hindemith (et al.) approached this matter. He ranked intervals from most consonant to most dissonant, and in every melody, chord or sound mass I write I'm always thinking of these intervals and how every pitch is relating to others (as one normally would do in counterpoint thinking). In his system (somewhat ...


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The harmonic series that you describe was discovered to be related to our perception of consonance and dissonance by the German Physicist Herman Helmholtz in the late 1800s. The concept was known to us (the human race) for a lot longer than that. Helmholtz was out to provide an objective description of why some intervals are considered "unpleasant" and ...


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My thoughts on consonance and dissonance have kind of come full circle for me. When I first came across the terms early on in my studies, I was focused on understanding how they figured in the mix and what I needed to be aware of when I was figuring out harmonies. Eventually I came to view these characteristics of harmony in much the same manner as I view ...


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I always think of consonance and dissonance as representing "rest" and "motion" respectively (in the style being used.) Mostly I write short dance pieces (ballroom mostly). I tend to put dissonances in to break up longer mostly consonant phrases. Often with lyrics, one uses a slight (or big in some cases) to mark an ensuing phrase end. Ludmilla Uhleha has a ...


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If harmonics naturally tripled, then the perfect 12th would be the most harmonious because it’s ratio is 3/1 Not exactly “naturally tripled”, but quite a few instruments in fact don't feature the 2nd (octave) overtone, but only odd-numbered ones. The most-discussed one is the clarinet. Good orchestrators take this into account when they blend instruments, ...


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Octaves are universal (in the sense of culture-independent) and have a frequency ratio of 2:1 between higher and lower end. And no, harmonics don't double, there are even as well as odd harmonics (2nd, 3rd overtones). Pythagorean tuning results from the insight, that some other intervals also have simple ratios, as the perfect fifth 3:2. Any attempt to ...


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One thing I find helpful for analyzing what things sound like is to remember that human hearing is not intended to be a tool for the perfect capture of sounds like a WAV file or a phonograph. It's a tool that primarily grew as a survival tool. Its purpose was to get as much information about the world as possible. Music came later. Human hearing ...


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Well to my knowledge, we percieve the sounds in intervals of simple ratios to be more consonant and that is why most instruments are made that way. You will find that music theory relies on this concept of natural ratios sounding consonant for the construction of the major scale (The mathematics of which was explained by Pyhthgaorus I believe) . I beleive ...


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The basic idea is that (supposedly) interval rations sound less dissonant if the largest number in either the numerator or denominator has smaller factors that other cases. Octave: 2/1 big factor 2 Fifth: 3/2 big factor 3 Just Third: 5/4 big factor 5 Pythagorean Third: 81/64 (or something close, I'm not sure) big factor 81 A few quick computations will ...


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